28 piano solos for the music that envelops you as you lose yourself in the world of video games including: Angry Birds Theme â?¢ Assassin's Creed Revelations â?¢ Battlefield Theme â?¢ Dragonborn (Skyrim Theme) â?¢ Elder Scrolls: Oblivion â?¢ Main Theme from Final Fantasy I â?¢ Overture from God of War III â?¢ Mass Effect: Suicide Mission â?¢ Minecraft: Sweden â?¢ Rage of Sparta from God of War III â?¢ Uncharted Theme â?¢ and more.

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

Sopra La Lontananza Del Frato Dilettissimo BWV 992-J. S. Bach composed his Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo (Capriccio On The Departure Of A Beloved Brother) in the early years of his career. It is rumored that the piece waswritten and performed by a nineteen-year-old Bach on the occasion of his brother Johann Jacob leaving home to become an oboist in the army of Charles XII in Sweden. The work is possibly modeled on the Biblical Sonatas ofJohann Kuhnau.This Henle Urtext Edition for solo Piano has been edited by Georg von Dadelsen and does not include fingering.

Sergei Prokofiev's nine piano sonatas span the years 1907 to 1953. This collection, edited by Thomas Schumacher, addresses the first four of these masterworks: Op. 1 (in F minor), Op. 14 (in D minor), Op. 28 (in A minor), and Op. 29 (in C minor). In prefatory matter, Schumacher discusses Prokofiev's compositional style and the form of each sonata, in addition to analyzing the various themes and compositional nuances of each work. Helpful fingering and pedaling suggestions are also offered in this comprehensive, clearly engraved edition. Thomas Schumacher, professor emeritus of piano at the Eastman School of Music, has toured and lectured throughout the United States, Canada, Italy, Sweden, Belgium, China, Taiwan, and Japan. He studied at the Manhattan School of Music and the Juilliard School. / Piano

Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

Music Of Our World Multicultural Festivals Songs and Activities. Adapted and Arranged by John Higgins. Celebrate music cultures and traditions as they happen around the world with this multicultural collection of festivals songs and activities that will enhance global awareness and provide rich experiences in the music classroom and beyond! This all-in-one Book/CD Pak provides everything you need: background on each festival step-by-step instruction for each song based on the National Standards piano/vocal accompaniments lyric translations reproducible songsheets expanded activities and a Cd recording of each song with vocals and accompanimenttracks only - a smart buy for every music classroom. Featured festivals and songs: Respect for the Aged Day (Japan) Hamabe no Uta Aloha Festivals (Hawaii) 'Ulili E Festival of Lights (India) Aeyaya balano sakkad St. Lucia's Day (Sweden) Sankta Lucia Carnaval (Brazil) Cidade Maravilhosa New Year (Laos) Dok Djampa Freedom Day (South Africa) Singabahambayo Cinco de Mayo (Mexico) A la Rueda de San Miguel

Church Sonatas in Three Parts, Op. I [Sonate da Chiesa a trè] (ded. to Queen Christina of Sweden) Sonata No. 1 in F Major Sonata No. 2 E Minor Sonata No. 3 in A Major Sonata No. 4 in A Minor Sonata No. 5 in B-flat Major Sonata No. 6 in B Minor Sonata No. 7 in C Major Sonata No. 8 in C Minor Sonata No. 9 in G Major Sonata No. 10 in G Minor Sonata No. 11 in D Minor Sonata No. 12 in D Major Chamber Sonatas in Three Parts, Op. 2 [Sonate da Camera a trè] (ded. To Cardinal Benedetto Pamphili) Sonata No. 1 in D Major Sonata No. 2 in D Minor Sonata No. 3 in C Major Sonata No. 4 in E Minor Sonata No. 5 in B-flat Major Sonata No. 6 in G Minor Sonata No. 7 in F Major Sonata No. 8 in B Minor Sonata No. 9 in F-sharp Minor Sonata No. 10 in E Major Sonata No. 11 in E-flat Major Sonata No. 12 in G Major (Chaconne) Church Sonatas in Three Parts, Op. 3 [Sonate da Chiesa a trè] (ded. to Duke Francesco II of Modena) Sonata No. 1 in F Major Sonata No. 2 in D Major Sonata No. 3 in B-flat Major Sonata No. 4 in B Minor Sonata No. 5 in D Minor Sonata No. 6 in G Major Sonata No. 7 in E Minor Sonata No. 8 in C Major Sonata No. 9 in F Minor Sonata No. 10 in A Minor Sonata No. 11 in G Minor Sonata No. 12 in A Major Chamber Sonatas in Three Parts, Op. 4 [Sonate da Camera a trè] (ded. to Cardinal Pietro Ottoboni) Sonata No. 1 in C Major Sonata No. 2 in G Minor Sonata No. 3 in A Major Sonata No. 4 in D Major Sonata No. 5 in A Minor Sonata No. 6 in E Major Sonata No. 7 in F Major Sonata No. 8 in D Minor Sonata No. 9 in B-flat Major Sonata No. 10 in G Major Sonata No. 11 in C Minor Sonata No. 12 in B Minor Six Violin Sonatas, Op. 5, Part 1 [VI Sonate a Violino Solo] (ded. to Electress Sophie Charlotte of Brandenburg) Sonata No. 1 in D Major Sonata No. 2 in B-flat Major Sonata No. 3 in C Major Sonata No. 4 in F Major Sonata No. 5 in G Minor Sonata No. 6 in A Major Preludes, Allemandes, Correntes, Gigues, Sarabandes, Gavottes and Follia, Op. 5, Part 2 [Preludii, Allemande, Correnti, Gighe, Sarabande, Gavotte, e Follia] (ded. To Electress Sophie Charlotte of Brandenburg) Sonata No. 7 in D Minor Sonata No. 8 in E Minor Sonata No. 9 in A Major Sonata No. 10 in F Sonata No. 11 in E Major Follia in D Minor (Sonata No. 12)

Through Windows of Thine Age was written in gratitude and deep admiration for the Swedish Prime Minister Olof Palme one of Sweden's most creative politicians. It swings between romanticism and the wild with the Swedish national anthem present in almost every bar.As an international soloist and chamber musician Mats Lidström has gained a reputation for performances of great insight and virtuosity. He has been a member of the Cello faculty at the Royal Academy of Music since 1993. Other works include Suite Tintin for Cello and Piano and Rigoletto Fantasy for Cello and Orchestra. His children's story The Stamp King also comes in the form of amelodrama with the narration accompanied by Cello and Piano. His transcriptions for Cello are numerous. They include music from Bach to Cole Porter. Mats Lidström has recorded for Hyperion BIS EMI and Deutsche Grammophon.

Britta Byström's La Fugitive for Brass Quintet (2004). Parts available: WH31165A Commissioned by Rikskonserter / Concerts Sweden.

The ragtime and early jazz music pioneers during the first decades of the last century didn???t know that the sounds they created would echo in the music that people loved for years to come. They started an American music traditionthat is alive to this day. I was born and raised in Sweden and I have always enjoyed the music from that era but being a Guitarist I never thought that playing back-up in a jazz band was for me. I???d rather do something with thesesongs so that they would fit my approach playing fingerstyle Guitar.Many of the early jazz songs and of course classical ragtime often is played as Piano music with a steady left hand playing bass notes and chords togetherwith the right hand playing a syncopated melody on top. This style of playing is very similar to the alternating bass style on the Guitar. So these tunes easily lend themselves to a fingerstyle arrangement.With classicalragtime I approach arranging by transcribing the original Piano sheet-music. The important thing is to find keys that suit the Guitar and then decide what notes not to play since it is not technically possible to play all thenotes in a Piano score on the Guitar. I like to play in keys that will give me the opportunity to use open strings in the bass while the melody moves up and down the neck. This is especially important since my aim is to make myarrangements not too difficult to play so that the player can concentrate on the music instead of being too concerned with the technical aspects of his/her playing. The most important challenge though is to make the tune soundlike Guitar music not Piano music played on the Guitar.

Swedish A Cappella Music Since 1945-This is the first complete survey of Sweden's rich choral music during half a century. Equally suited to music libraries and music institutions and as individual studies for choirs with an interest in Scandinavian music it includes a guide to research a select discography a select bibliography and a list of selected a cappella works relating to the composers interviewed. Dr. Sparks is a Professor of Music at Pacific Lutheran University and is Artistic Director of Choral Arts Northwest a 24-voice chamber choir founded in 1993.

61 Traditional Pieces-Scandinavian Folk Tunes For Accordion is a collection 61 arrangements of traditional tunes from Sweden Finland and Norway.Scandinavian traditional music specialist accordionist Jonny Dyer provides notes on the history of the music as well as playing techniques and styles.The volume is accompanied by a CD with a recording of all tunes performed by Jonny Dyer. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8.

FRANZ BERWALD (1796-1868) is regarded today not only as one of Sweden's most important composers but also due to his symphonies and his chamber music as a leading figure in the history of Northern European music of the 19th century. His compositions include in addition to four symphonies and the chamber music tone poems for orchestra concertos operas ('Estrella di Soria' and 'The Queen of Golconda') cantatas solo songs with piano accompaniment piano music and much more.Berwald's violin concerto in C sharp minor is the work of a young composer. The autograph score bears the date 1820; Berwald was 24 years old at the time.After the firstperformance the violin concerto fell into oblivion and was as far as we know never again performed in Berwald's lifetime. It was not brought to light again until 1903 when on May 19 the first movement was performed at the Annual Celebration of the Academy of Music of Stockholm.Urtext of the Berwald Complete EditionFull score (BA4905) and Violin & Piano reduction (BA4905-90) available for salePerformance material (BA4905-72) available for hire